La Sonnambula, HGO
HGO finds fresh meaning in Bellini’s romantic tale, although the staging sometimes gets in the way of its strongest asset: the singing
11/6/2026
★★★☆☆
Bellini might never have written La sonnambula had he continued with his original plan to adapt Victor Hugo’s Hernani. Instead, he turned to a story inspired by a popular Parisian ballet, creating one of the great bel canto operas of the nineteenth century. Its plot, involving a sleepwalking woman accused of infidelity, may seem ridiculous today, but the feelings of jealousy, humiliation and betrayal remain recognisable.
John Wilkie's production for Hampstead Garden Opera makes those emotions more important than the opera's traditional Alpine setting. At Jacksons Lane, the villagers become a judgemental crowd, watching Amina's every move and quickly turning against her. It is an effective approach, although their reactions sometimes become exaggerated, making the atmosphere less threatening than intended.
The production looks modern and deliberately simple. Jennifer Gregory's movable metal frames occasionally suggest the inn convincingly, but elsewhere their constant repositioning distracts from the action. The stepped platforms offer different heights without adding much to the storytelling. Costumes are understated and appropriate, while Jacob Gowler's lighting creates some attractive images. Unfortunately, the strong side lighting frequently leaves singers' faces in shadow, making it harder to follow their emotions.
The musical performances are much more convincing. Zoë Soleil Vallée is a wonderful Amina, with a clear, flexible soprano and effortless high notes. Particularly impressive is how naturally she moves between vocal fireworks and softer, more vulnerable passages. She gives the character warmth and innocence without making her seem helpless.
Robin Jeffcoat Dick brings a pleasing lyrical quality to Elvino and works well with Vallée, even if his character's unreasonable jealousy occasionally pushes the acting towards melodrama. Bethan Terry makes Lisa entertaining and spirited, singing with confidence and bringing welcome humour. Matias Carbonetti Schwanek gives his character Rodolfo authority and a reassuring presence.
Stefano Boccacci leads the thirteen-piece orchestra with sensitivity, allowing Bellini's melodies to flow beautifully. The musicians produce an impressive sound, although some louder passages feel rather overwhelming in the small venue. The chorus sings equally well, despite occasionally looking uncomfortable navigating the crowded stage.
The biggest surprise is the ending. Rather than marrying Elvino, Amina rejects him and chooses to remain independent. It is an interesting challenge to the opera's traditional message, but the decision arrives too suddenly to feel entirely convincing.
Despite some shortcomings in the staging, this La sonnambula is an enjoyable and musically rewarding production. The strong cast, led by Vallée’s outstanding performance, brings Bellini’s beautiful music to life, while the inventive direction offers a fresh perspective on a familiar story. Not every idea works equally well, but Hampstead Garden Opera once again demonstrates how much can be achieved with limited resources and talented young performers.
Image credit: Julian Guidera
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